There was Qi Baishi in the world, and the remaining ink still exists in the world.
If you ask Yu Mo where to ask, Baishi Mountain Hall is less white!
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Baishi Shantang is a wholly-owned subsidiary of Qi Baishi Painting and Calligraphy Institute in China: it is currently the painting and calligraphy institute with the largest collection of Qi Baishi's works, and is fully responsible for the establishment and development of Qi Baishi cultural and creative brands, Qi Baishi fashion and other brands, and is committed to the content mining, system combing, industry promotion, business innovation, value reproduction and other assets such as Qi Baishi calligraphy and painting, art, seal carving, appraisal and auction, etc., which is an important part of building a product innovation platform based on Qi Baishi culture and art.
Hello Tibetan friends, today we have invited Mr. Tang Fazhou, then the successor of Qi Baishi, the disciple of Qi Liangzhi, the president of the Chinese Qi Baishi Painting and Calligraphy Academy, the visiting professor of the Tsinghua Academy of Fine Arts, the official image spokesperson of NetEase Group, the specially invited teaching and research director, the contracted painter of Beijing Fine Art Academy and Rong Bao Zhai, the expert of Qi Baishi's calligraphy and painting big data identification, the president of the Shanghai Qi Baishi Art Research Association, and the chief operating officer of Baishi Shantang Culture Media, Mr. Tang Fazhou, once heard Li Zeyu say: My family and the old man Baishi are not only close neighbors in the same township, but also world friends. When the two families settled in Beijing, they lived in Xicheng District, only one or two miles apart.
Grandfather with Old Man Shiraishi
Shiraishi began to learn poetry at the age of 27, and later learned calligraphy and seal carving, and his love for poetry, calligraphy, painting and printing became a bridge and bond with his grandfather. Grandfather's name is Li Desui, the word Songan, born in 1870, died in 1953, born in the scholarly family with the name of the eunuch in the name of Kedi, passed the examination, because he did not want to be an official, he lived in his hometown for a long time, lived a Tao Yuanming-style life, and entertained himself with poetry, calligraphy, painting and printing.
In 1894, at the age of 32, Shiraishi first came to my house to paint a "portrait of a crown" for his great-grandfather (which was exhibited at the 1958 exhibition of Qi Baishi's posthumous works). This was the first time that Mr. Shiraishi had come to my house, and he and his grandfather's shared love of art made them instantly acquainted. When my grandfather saw that he was smart and studious, he left him to live in my house, and for the next eight or nine years, the old man Shiraishi always lived in my house for several months a year.
My house is not far from Luoshan, Huayue Jiachen, must have a poetry meeting, my grandfather and Baishi and other more than a dozen rural relatives and friends in 1895 jointly established the "Luoshan Poetry Society", everyone often drinks in my house and writes poems. The old man Shiraishi was very nostalgic for this life, and recalled in a letter to his grandfather ten years later: "The gathering must be for ten days of drinking, or making flower paper (that is, painting on letterhead--author's note), or tomb gold stones, and painting dozens of paintings wherever it is exciting." On the eve of the day, he and his two or three sons swam on the Shanxi River, looking up at the verdant Luoshan Mountain, and the birds returning to their nests; Overlooking the stream, the water is clear, and the crabs are rampant. Shao Yanyue came out of Zhuyu and returned to Fenlou (that is, his grandfather's study - author's note) to promote sitting and talking. Huang does not work in poetry, but is quite able to say the samadhi in poetry. Sometimes the public or the flute, Juan is also arrogant and peaceful. The moon has slanted to the west, and he does not want to sleep. ，..... I hate not to study, and I am a friend and a teacher.... Ande turned into a snail and placed it on the side of Luoshan!" In his later years, the old man Baishi also wrote a poem: "It is rare that when you are happy, only Lao Song knows that the poor family may wish to smoke like a sea on the four walls, and compose poems for the night of the lantern.....
When the old man Shiraishi lived in my house, in addition to reciting poems and painting, learning calligraphy and seal carving was also an important activity, that is, the "tomb gold stone" mentioned in the previous letter. Old man Shiraishi learned seal carving at my house in 1896. At that time, my grandfather and several uncles were interested in studying the way of seal carving, and after Baishi came to my house, my grandfather gave him a collection of books and some art treasures, such as the photocopies of Ding Longhong and Huang Xiaosong in the six schools of Xiling.
My grandfather, who was eight years younger than Shiraishi and was in his 20s at the time, saw that Shiraishi cherished these fine products so much that one day he jokingly said to him, "If you can eat a bowl of salted fish at once, I will let you choose a good seal and give it to you." Shiraishi really ate it in one go, so he got a good seal. Another day, my grandfather pointed to the single-plank bridge over the Shanxi River in front of the door and said to Baishi, "If you can walk back, I will give you a good seal." Shiraishi is victorious again. Later, the old man Baishi wrote a poem to recall this incident: "Thirty years ago, the Danfeng on the road on the river fell and the yellow flowers were thin. The color of the king has not withered, and the shadow of the water is a single-plank bridge. This poem is a commentary on the story of the above. From these two short stories, it can be seen how obsessed the old man Shiraishi was with the art of seal carving!
The poem "Old Things in Luoshan" by the old man Shiraishi more vividly and delicately reflects how hard and tenacious he and his grandfather and others were in learning seal carving in my house. The poem says: "Shitan old things are waiting for children, and the water in Shishutang is also a disaster." The wind and rain dragged the sandals for a day, and the umbrella flew to the red mud. Who Yunchun dreamed of no trace, and saw Ding Huang starting to get started. Today, Xianjun won a game, and his son is a doctor and a poet.
One day, more than half a century after the engraving, my father showed me dozens of seals from the family collection and said to me: "Some of them are the works of the old man Shiraishi and your grandfather when they were first learning to engrave in our family.
I saw that most of these seals were very ordinary Shoushan stones, with different shapes: square, oblong, ancient coin-shaped, and extremely irregular, which seemed to be a random stone, which was carved by grinding. Its size is also different: the small one is as big as a broad bean, the large base area is like a copper plate, but the height is less than one centimeter. Some are engraved with name badges at the upper and lower ends, and even on the sides, probably to make the most of the stone. Some of these seals are famous seals, some are idle seals, and the fonts used are lines, Kai, grass, seals, etc. Some have no boundaries, some have, among which there are about ten square meters carved in white stone. There is an inscription on the side paragraph: "Imitation of someone, is it standardized?" Or the words "White Stone was once engraved".
When my grandfather and the old man were young and middle-aged, the friendship forged by poetry, calligraphy and painting became deeper over time. This can also be seen in the letters to my father after the 30s. For example: "After Zun and Huang said goodbye, they wrote three books, and they had to answer one answer." The old scholar is timid to avoid chaos in Shanghai, and Shanghai is like this. Can there be no gunshots in your honor? Huang thought about it. Have you had a letter from home since the New Year? Ask as usual, beg to show me, fortunately! First of all, please Mrs. Fu'an.
"I haven't seen each other for a long time, it's really like the end of the world...... a letter from my lord and nine books of humble poems, please add the address of my lord's residence and send it to Juan. Although there is a home in the turbid world, there is no fixed place to move, and it can be sighed. Before the Anti-Japanese War, my grandfather had come to Beijing to live at my father's house, and at that time, the old man Baishi had also settled in Beijing, and the two met again. From my father's diary, we can see that my grandfather and the old man Baishi often visited each other, climbed together to play during the Double Ninth Festival, and went to Guanyin Temple together to listen to the monk Yuanying preach the Lengyan Sutra. In 1950, on the occasion of his grandfather's 80th birthday and his father's 60th birthday, the old man Shiraishi sent a huge "Pine Crane Picture" (this painting was exhibited in the 1958 Qi Baishi Posthumous Exhibition) to celebrate his birthday. Three years later, my grandfather died at the age of 83.
From the interaction between my grandfather and the old man Baishi, it can be seen that they have a common interest in poetry, calligraphy, painting and printing, and have studied together, but the two have different development paths. Grandfather earlier than the old man Baishi came into contact with traditional Chinese culture, he was enlightened at the age of 5, young in the middle, and as the old man Baishi said: "its talent is better than the surplus", and the grandfather's home has a rich collection of books and art treasures, which is more convenient to learn from, but the grandfather just took poetry, calligraphy, painting and printing as the object of leisure and self-entertainment, and finally gave up halfway, and achieved nothing. The old man Shiraishi took art as a lifelong career, persevered, kept improving, from imitation to innovation, and finally became a master of art respected at home and abroad.
Father and old man Shiraishi
Born in 1890 and died in 1978, he was a well-known linguist, educator and social activist in mainland China. In 1894, when the old man Shiraishi first came to live in my house, my father was only 4 years old and began to read the enlightenment textbook "Book of Songs".
Under the influence of the family environment, my father was influenced by the culture of the motherland since he was a child, and he finished reading half of the "Thirteen Anthologies" when he was a teenager, and he was familiar with hundreds of articles and 10,000 ancient and modern poems. At the same time, he also loved to compose poems, paintings, calligraphy, engraving, blow pipes, and flutes, so at the age of 10, he participated in the "Luoshan Poetry Society" organized by Shiraishi and his grandfather. At the age of 15, he was admitted to the late Qing Dynasty Xiucai.
After his father became an adult, although poetry, calligraphy, painting and printing were not his profession, the solid foundation of his youth enabled him to show outstanding artistic talent in the future. For example, his calligraphy art was widely recognized by the world, and many people asked him for words. He didn't do art for art's sake, but used calligraphy as a tool to advance the Mandarin movement he was engaged in. In the "Li Jinxi Writing Pen List", it is clearly stipulated: "The middle hall and couplets are 30 yuan each, and those who do not write the national pronunciation letters are doubled, and each piece is 90 yuan; Signboards, amounts, 10 yuan per word, and those who do not note the national sound next to the word are doubled. "My father used every opportunity to popularize the Mandarin alphabet in order to promote Mandarin (then called Chinese) throughout the country. My father also created the phonetic alphabet cursive script, which was published by the Commercial Press and was widely circulated at the time.
His father's poetry has also been quite accomplished in the art of poetry, and his poems have been commonly used in newspapers and magazines for decades, and have published "Shaoxi Poems", which has been commented by experts as "the poetry of poets, the poetry of historians, and the poetry of scholars", "There is history in poetry, and there is poetry in history". Poetry rhyme belongs to his phonetic professional scope, so his achievements are greater and his influence is wider, such as the "Chinese New Rhyme" co-authored by him, which was issued by the government at that time as the national standard for poetry and rhyme.
My father and Shiraishi often communicated with each other in poetry creation and improved together. The letter of the old man Baishi is recorded as follows: "The collection of humble poems has been sent to the printed page for proofreading. What a feeling! What a feeling! "Watching the Sun in the Dongting" is a short ancient song (Fan and Wang are not taken), because the king calls it too white, I take a closer look, and I can't do it at this time. When I made this short ancient time, I was at home, or reading Taibai poems, I was learning Taibai, and I didn't know. ....What I have learned, you can know everything, and I am ashamed to speak to the old people. After the unitary, the world will not be chaotic, read books for ten years, travel tens of thousands of miles, close the door to write poetry, or there are observables. In short, I should be content, both painting and engraving a false name, and wanting to compose poetry, close to a good thing, but what is good for nature, I have to do it. In 1963, the People's Fine Arts Publishing House published the eight-page "Collected Works of Qi Baishi", in which the collection of poems was edited by his father and wrote a long preface.
In 1948, my father, Hu Shi and Deng Guangming co-edited the "Annals of Qi Baishi", which was published by the Commercial Press. From his father's acquaintance with the old man Shiraishi at the age of 4 to the death of the old man at the age of 97, the friendship of nearly 60 years is profound, not only because they have a common artistic hobby, but also because they have many similarities in character and morality: politically, they both love the country and the people, and although they have a high reputation in the old society, they are by no means officials, and even representatives of the National Congress are not appropriate.
However, after the founding of the People's Republic of China, they all gladly accepted that they were elected as deputies to the National People's Congress, and they were very simple and humble in life; In the career, they are serious and rigorous, and dare to innovate and create; I believe that these spirits and their respective works of art and scientific research are the precious heritage of our national culture and an example for our future generations to learn forever.
My association with the old man Shiraishi
I met the old man Baishi shortly after the victory of the Anti-Japanese War, when I was still a junior primary school student, I came to Beijing with my parents from Lanzhou to settle down, and lived in Chengfang Street, Xicheng District, only one stop away from the old man's house, so I often went to visit the old man with my parents during the ten years from elementary school to high school.
My mother, He Xiangjiang, a native of Dongxiang, Changsha, Hunan, was born in 1907 and died in 1983, she likes to write poems, lyrics, and paint in her spare time, and soon after marrying her father in 1936, she met the old man Baishi and worshipped Baishi as a teacher. During the last decade or so of the old man's life, my mother often took me to visit him, and I was exposed to it, so that her paintings of chickens, fish, shrimp, and flowers were quite white-stone.
At that time, the old man Baishi lived at No. 15 Straddle Hutong in Xicheng District, which was a typical Beijing courtyard house where the elderly lived in a north house with two bright and one dark, and the small suite was a bedroom; The big room is his living room, dining room, and painting studio: at the root of the west wall is a row of wooden cabinets, on which a long wire is tied, often hung with the calligraphy and paintings of the elderly, a long painting case in front of the cabinet, paved with dark green tablecloth, on which there are "four treasures of the study", in the middle of the door is an old square table that can be supported into a circle, that is, a dining table, several small square stools; In front of the table against the south wall is an old rattan recliner, which is the old man's seat, and next to the chair is a red lacquered dragon head wooden cane. In winter, there is an extra fur cushion on the chair and a coal stove next to the chair. This is where the world cultural celebrity Shiraishi worked and lived in his later years. Needless to say, this kind of furnishings is simple enough today, even back then.
When I was a child, I would come here once or twice a week, and the old man would always receive us in a cloth gown and a cloth hat and sit on an old rattan chair. My mother and I sat around him, the old man often used his big hand to hold my small hand, I quietly listened to him and my mother talk about painting and family life, and sometimes I quietly touched his long sparse silver beard on his chest. The most interesting thing about going to his house was watching the old man draw. He rarely speaks when he paints, he is engrossed in one go, and the pen is not fast, a bit like the action of playing Tai Chi, and after being lucky, he moves one after another, unhurried, soft and rigid. With a few brushstrokes, fluffy chickens, lively fish and shrimp, and clumsy crabs all jumped on the paper; Bright peaches, heavy persimmons, plump lychees or loquat hanging from the branches; Gorgeous peonies, elegant lotuses, golden sunflowers, purple trumpets, competing to bloom.... After the painting, the old man always asked us to help him hang on the thin wire behind him, quietly watched and asked us if the painting was good, sometimes he thought there was something wrong, so he took it down and added a few more strokes, until he was satisfied. His seriousness and dedication to art left a deep impression on my young mind.
From preschool to elementary school, I also liked to scribble with ink pen and watercolor under the influence of my family, and my mother gave me the odds of rice paper left over from her painting and my father's writing, nailed into a small album the size of a palm, and I even painted more than ten books in a few years, and often took them to ask the old man Baishi for advice, he sometimes pointed out to me, but more than nodded and praised: "Good!" Good!" So I was very proud, and I especially liked to go to his house.
Once, after looking at a rigid chick I had drawn, he got up and walked to the drawing case and drew a picture of a chick more than a foot long for me: two fluffy chicks were holding an earthworm that had been beaked in two but was still wriggling, and several chicks were rushing over next to him, and they were about to participate in this fierce battle for food in their mouths. Before the old man finished painting, I clapped my hands and laughed, contrary to the little girl's plain and quiet attitude. My mother hurriedly scolded me: "Don't 'go crazy'!" But I still giggled happily. But after reading the inscription of the old man Shiraishi, I suddenly stopped laughing, and the old man asked me puzzled, "What's wrong?" I pointed to the inscription "Ninety years old" and did not answer, and looked at the old man mischievously. Suddenly, the old man Shiraishi and his mother laughed at the same time, and it turned out that the inscription was written in branches: the first line was "Zeyu children", the second line was "a smile of ninety years old", and the third line was "Old man Shiraishi". Since then, the old man Shiraishi seems to like me more, and every time he goes to his house, he not only wants to keep us to eat as usual, but also often opens the cabinet to bring me some small food to eat, and encourages me to practice painting more, and he once asked his mother to hope that they will marry their children.
After entering junior high school, my interest shifted from drawing to reading extracurricular books, and after entering high school, I decided to inherit my father's business and apply for the Chinese department of the university in the future. I'm busy with my homework and I've grown into a big girl, I don't want to be my mother's "little tail" anymore, and I go to the old man's house in Shiraishi relatively rarely, but I always have to go to the festival or the old man's birthday. I remember that one birthday dinner was at the Quyuan Restaurant in Hunan, and the old man was wearing a red satin robe, like a Peking Opera costume, which left a deep impression on me. The old man once moved to Yu'er Hutong in Beicheng, which is far away from my home, and I have never been there once. I attended the meeting where the government awarded international peace prizes to the elderly. Maybe it's because I go to his house less often than when I was a kid, so when we go, he is always very happy, and he even took the initiative to carve my name badge. Every time I go, I have endless things to say.
I remember one time my mother and I said goodbye to him, he had to go out of the house on crutches, leaning on the iron gate to see us off, we were almost out of the yard, the old man was still reluctantly waving to us, his fourth son (or fifth, I can't remember), happened to pass by the yard, saw this scene, hurriedly grabbed the camera, and captured this unforgettable moment. When the old man Baishi was 97 years old and was dying, he also drew a one-foot square peony for me, with the inscription "Zeyushi's niece Yazhi, ninety-seven-year-old old man Baishi", there is only one red peony on the picture, which is very gorgeous and textured, but the petals are all open, and some are still hanging down, as if they are about to wither. Later, every time I looked at this painting, I always felt a nameless sadness in my heart, as if this red peony that was about to bloom was a portrayal of the end of the life of the old man Shiraishi at that time.
On September 16, 1957, the doorbell rang urgently, and I ran out to see that it was the young son of the old man Baishi, and he choked up and said to me: "Dad is sick, let me go and inform the third sister, and I will tell you first." I was stunned by this sudden bad news, I was saddened that my roots had been orphaned ever since, I was saddened by the loss of a loving and amiable elder, and I was even more saddened by the loss of a great genius master of art for the people of the continent and even the world. After that, I attended with my parents at the funeral home in Beijing, at the Jiaxing Temple funeral home, at No. 15 Straddle Hutong, and finally with the hearse all the way to the Baishiqiao cemetery in the western suburbs of Beijing.
Although the old man Shiraishi has left us, his voice and smile will always live in my heart: his spirit always inspires me to forge ahead in language and writing work! (To be continued) collection of calligraphy and painting, just look for the "Baishi heirs" of Qi Baishi Painting and Calligraphy Institute, all rights reserved, on-site creation, Qi Baishi painting school, a hundred years of inheritance, one line, only do real calligraphy and painting, gather the heads of the family, on-site creation, can be customized according to the requirements of the collector, can take a group photo! Perennial sales of high-end paintings and calligraphy, looking for cooperation with high-end painting and calligraphy brokers, partners, regional leaders, mainly operating Qi Baishi's painting brush before his death, Qi Baishi's special rice paper for painting shrimp, Qi Baishi's graphite block, Qi Baishi's self-made pigment formula, Qi Baishi's painting brush grass insect secret method, Qi Baishi's little daughter Qi Liangzhi's father Qi Baishi's calligraphy and painting relics exhibition and Qi Baishi's little daughter Qi Liangzhi's self-collection of calligraphy and painting special auction, Qi Baishi's heirs, Tang Fazhou, President of the China Qi Baishi Painting and Calligraphy Institute, paid tribute to the 160th anniversary of Qi Baishi's birth and reproduced the microcosm of Qi Baishi's calligraphy and painting exhibition, as well as the operation of Qi Baishi, Qi Liangzhi, Qi Liangchi, Qi Liangmo, Qi Bingyi, Qi Jingshan, Qi Bingzheng, Qi Zhanyi, Qi Huijuan, Qi Shouyu, Qi Yuwen, Qi Lixia, Qi Yuanlai, Qi Folai, Qi Shuilian, Qi Yanjun, Li Keran, Li Kuchan, Lou Shibai, Guo Xiuyi, Wang Senran, Wang Xuetao, Lu Guangguang, Wang Shushi, Wang Tianchi, Wang Wennong, Yang Xiuzhen, Tang Fazhou and other Qi Baishi heirs worth more than 100,000 million of calligraphy, paintings, seals and authentic works can also accept NFT, digital collections, metaverse, cross-border brand alliance, cultural empowerment resource integration and other operations, welcome powerful network companies to bid. (Pictures and texts are selected from: Qi Baishi's Descendants Calligraphy and Painting Network) (The pictures in this article are selected from: Qi Baishi in the eyes of Qi Liangzhi, Qi Baishi Painting and Calligraphy Academy, Qi Baishi's Descendants Calligraphy and Painting Network)
Note: The above pictures and texts are excerpted from the lecture "Shaobai Gongzi Fun Talks about Qi Baishi" Speaker: Tang Fazhou
Jia Chennian [Year of the Dragon] compiled in East China Shanghai Qi Baishi Painting and Calligraphy Institute (Shanghai Pudong General Institute)